Thursday, 30 June 2016

God I need fast stuff tonight! It's been that kind of a week so far. Traffic Death should do the trick. Hailing from Des Moines, Iowa (the same place as Slipknot), they released Terror On The Freeway as a 7" last October via Give Praise Records and Vehicular Genocide Records (which, I'm presuming is the band's own label). They're fans of the old trusty VHS format and they've got a split with The Lurking Corpses coming out soon!

Traffic Death is pure nasty old-school punk/thrash. Too Late, You Lose sounds like somebody travelled back in time and dug up some Municipal Waste demos! It’s got a similar vibe but doesn’t copy it. Fuck Cancer is as belligerent as it’s title suggests. The shouty, grinding madness is over in little more than half-a-minute. The female spoken-word sample at the beginning of Life Justice is stark and depressing, which is nothing like the music that follows it. The vocals remind of Steve “Zetro” Souza era Exodus and the instrumentation flits between sludge and thrash with a killer solo towards then end. There’s more to Traffic Death’s sound than just the genre-comparisons I’ve mentioned above and it’s little surprise that they’re partnering with The Lurking Corpses on a split record. Thirst is pure driving music, if you like driving at 100 mph all the time! They put their spin (no pun intended) on Girlschool’s Hit & Run and it sounds nothing like a hair-metal anthem, which is good thing in my opinion. There’s still plenty of lead-guitar flair going on if you like that sort of thing though. This US four-piece remind of Grease in a perverse way, yet I also feel compelled to smash car headlights and skateboard on the pavement. I like this a lot. Traffic Death rules!

You can stream Terror On The Freeway or grab it as a download/7" below:-

Wednesday, 29 June 2016

Nearly six years on from their first LP and Sky:Lark are back with a new one. They haven't been quiet for all that time, with a demo and a couple of split 7" filling the gap. This time they've teamed up with co-conspirators SuperFi Records as well as Boslevan Records, Deadwood and Dingleberry Records to release their new LP on vinyl (in spite of plant waiting times). Those that caught them recently at Shay Fest in London will probably have heard some of the tracks contained on here, but this is my first time spinning my copy.

Sky:Lark has always existed on the experimental fringes of punk and LP2 opener Inner Ear Destruction is the perfect way to illustrate that point. Forceful guitar gives way to a Saxophone playing improv-jazz on a bed of feedback and rousing instrumentation that occasionally gets heavy and fast. I’ve just read that sentence back and it sounds like the description of a meal in an up-market restaurant. Sorry! Trilogy 1: Waterloo Teeth contains a nod towards Ennio Morricone. It also captures Sky:Lark’s punk craziness perfectly. Much like kindred spirits Big Machine, Sky:Lark don’t follow a set blueprint. Trilogy 2: Turing Dream is filled with metallic guitar and slow/sludge-like tempos in places, while the brief Trilogy 3 doesn’t linger for long but still rages. You don’t get much of a chance to settle into your groove while listening to this. The hefty bass-lines of Big Rig remind you of an out of control wagon train, which is quite apt as Sky:Lark smashes through it in less than two-minutes. Post-hardcore/screamo makes an appearance on Lam Elisa and it’s presence brings to mind the likes of At The Drive-In, Sparta and Million Dead (remember them?). Comparisons aside, this is crafted brilliantly. Gorilla God follows in the same vein. The semi-clean vocals sounding like the call of early-man, while the guitar work invoked images of Western saloon bar brawls. Mouth/Wound is one of those songs that you could climb to the top of a mountain and shout to. It’s short but it really hits the spot. Talking of mountains, it’s left to Scenic to round out the madness. Equal parts hardcore-punk and arty grind, Sky:Lark provides one final glimpse of their skewed genius. Saxophonist Kye makes one final appearance too. This album is the perfect bedfellow to the mixed-up world we live in. Uneasy yet weirdly soothing are the words I would use to describe it. Take a punt, it’s good!

Download it digitally (name-your-price) and buy it on physical vinyl below:-

Black metal influenced by Yoga and Tantric spirituality you say? That's right, mysterious black metallers Drought don't write about the usual subject matter. It's no surprise then that they've recently released their debut EP via Italian label Avantgarde Music. Drought has already been gathering in mighty plaudits for this release, so their unique approach is certainly no gimmick and they prefer to let their music do the talking.

Anticipation is a wonderful thing, especially when listening to a new record or band and Drought knows exactly how to create it. EP opener Suryanamaskara (Entering The Gate of The Raging Sun) conjures images of ancient Indian temples that have been plunged into enter darkness. It makes use to ambient noise and distant growls. Fire Breathing (Urdva Kundali Arise) is where Drought opens up. Angular and chaotic riffs are joined by intense percussion and deep bellows to form an uneasy yet compelling sound. Musically, they don’t stay in the same place for long. Reveal The Unlight (Sudden Awareness) is a mix of post and black metal with vocals that sound like they’re being screamed through a megaphone. At times they’re more traditional (in metal terms) too, but you have to listen closely to really hear it. Rudra Bhakti’s closer Collapse Of Maya (Transfiguration Of The Warrior) makes up half of it’s playing time and it’s suitably grand. Heavy doom-like riffs and feedback takes you even further into the gloom, before Drought breaks into metallic territory that sits them closer to bands like Ancst and Deathrite. There’s no denying the vision and bravery of Drought during these four songs. Each one has it’s own identity and story to tell, yet the whole that’s created sidesteps any notions of being disjointed. Drought has done a great job and deserve their praise.

You can stream and purchase Rudhra Bhakti on various formats (digital, CD and 10" vinyl) below:-

Friday, 17 June 2016

I am now between jobs and am about to go on holiday for week. I've not been very productive today blog-wise but I've had the chance to do some thinking and to look back at some of things I've done and wanted to do (interviews, guest columns, writing for other blogs, spin-off PR work, etc) with the blog.

It's safe to say that a lot of ideas I've tried to get off the ground in recent years, haven't got anywhere. This has been down to my laid-back attitude to all of this and other people's busy schedules. I've been feeling a little bit down about it recently because I have such passion for This Noise Is Ours and what I have achieved so far.

When I return from holiday I really want to start to re-ignite my passion and really start to forge ahead with some of my ideas and try and get more involved in the industry again. It'll take some planning and time but I'm determined to really move forward in a bid to be taken more seriously (both for myself and the blog) and to help support bands, labels and people that feel the same way.

If any of you reading this have any ideas, projects or suggestions you want to throw my way then please don't hesitate to contact me via e-mail at tnio@outlook.com or via Facebook. These can be about things that I can get involved with from both a writing and a music perspective (press release writing, gig sponsorship, writing for other sites/mags, you contributing articles to my blog, etc). This isn't about money. Thanks.

Tuesday, 14 June 2016

Occult black metal from Australia with no discerning presence online apart from a page on Metal Archives. Anonymity is the way to musical integrity and Eucharist know it. Following the release of their "Demise Rites" demo via Iron Bonehead last November, Endarkenment sees them once again working with Iron Bonehead, releasing their first new music in five years. There isn't much else I can say about this band except; make sure you don't confuse them with the Swedish death metal band of the same name!

Evocatis Tenebris begins with what can only be described as the opening of the gates of hell…in musical form! Eucharist play ritualistic black metal full of blast beats, blackened guitar and haunting choral chants. That’s even after you’ve been taken in by those deep bellowing growls! Eucharist’s raw approach makes their music and their sentiment seem all the more real as well. Part I & II are split be a brief ambient passage, though there’s really no true real in proceedings as Eucharist moves into doomier territory. The whispered vocals are frightening and the guitar work is excellent, though it doesn’t detract from the dark atmosphere herein. Rituali Mortem Part III & IV make up the second half of this mini-LP and Eucharist continues to lay waste with their evil barrage of black metal. It’s astounding to think that with so much black metal around now, bands can still create their own unique approach, which is what is on show here. It’s not easy listening by any means but it’s engaging all the same. Musicality is another big part of Parts III & IV, with more solo work cutting through the gloom on Part III. Part IV is a sobering trip into the darkest of crypts. It’s a more mid-paced number that closes Endarkenment, though it’s not without it’s moments. The vocals really do envelope you from all angles while the instrumentation is nothing but hypnotic. Eucharist doesn’t merely copy whats come before. They produce something that all extreme metal fans should take notice of.

You can stream the MLP, download it and purchase physical vinyl copies from Iron Bonehead Productions below:-

I'm holidaying next Saturday for a week, so I'm aiming to get a few more reviews up so that June doesn't become an entirely wasted month. I'm starting today with Liverpool's The Bendal Interlude and their recent debut full-length. They've been going for over a decade now and their line-up feature current members of SSS (Short Sharp Shock) and ex-members of TDON Recs band Heresy Of Thieves amongst others. Reign Of The Unblinking Eye was released at the start of April via UK doom/sludge/heavy label Black Bow Records and TBI immediately hit the road around the UK with Conan to support it.

If ever there was a song that signalled a band’s intent (this being the intent to get smashed as early as possible on tour), then album opener Buckfast For Breakfast is the one. The sampled intro is stark enough but thankfully the riffs quickly wash away the guilt that you might feel about your own drinking habits. TBI’s sound is full of groove-laden riffs and thrash metal swagger. It’s high octane instead of being a slow burn. Losing Things goes in the direction of US stoner legends Clutch, but still remains unquestionably heavy. The lead work and transitions between fast and slow tempos are effortless. The Unblinking Eye provides a massive wall of sound, filled with complex yet super listenable psych. Their collective crossover influence comes across during Efram’s Hands, but it only pierces the sludge and gives way entirely for some cracking twin-guitar harmonies that really show off their musical skill. There’s something disturbingly fun about imagining a Pint of Bodies and I’d love to know the story behind the song. The song itself goes by in a flash and is a great listen. Don’t let that easy-on-the-ear stoner intro fool you, Creaks Gigantic’s hellish roars banish any hints of a band taking it easy. TBI pick up the pace again with Triumph of Fortitudo. It’s one of the heaviest songs on the record and the quartet power through it like nobody’s business. The melody that comes through during parts of The Block sounds familiar, but I don’t know where from! Maybe I’m imagining it in the trance that the riffs have put me in. Closing song R.I.P SP-808 is The Bendal Interlude at their doom-laden best. It’s no wonder then that it’s several minutes long. There you have it. A band that proves that Liverpool can’t get anymore chilled out and an album that really hits the spot.

I feel like I should be more familiar with Brazilian black metallers Bode Preto, but I'm not. This unholy trio started life in 2009 as Soturnus Skullcrusher before changing their name a year later. After releasing their debut "Dark Night" EP in 2010, their first full-length "Inverted Blood" was released on multiple formats in two years later. Mystic Massacres is their latest release, coming out on cd via Iron Tyrant and 12" via Laja Rekords in January.

After a haunting Intro (I’ve used that line a lot in black metal reviews), Deep Reality is a shock to the system with fast and violent extremity, death metal and subtle atmosphere. That’s pretty much how the rest of the album plays out too. Dark Obsession contains a great solo that breaks up the chaos and what sounds like synths in the background (but isn't). Maze of Mirrors goes by in a flash of off-kilter grimness and the title-track contains the scariest rasps you’re likely to hear this year. Thankfully the melodic lead work gives you some relief, be it fleeting. Dirty Honey takes Bode Preto back to their grinding best and the drums are fierce throughout. The really cool thing about Mystic Massacre is that the more you listen, the more experimentation your hear. Blasting and plenty of low-end makes Absurds of Violence truly fun. The pomp of the melody underneath reminds me a bit of Dimmu Borgir as well. There literally is no time for rest on this album, even during the gaps between songs. Unknown Woman leads you well passed the mid-point with brutal accuracy. The longest tome on the record is really two songs in one. Wraith/The Stage And The Meadow takes Bode Preto’s sound and drags it closer to that of the more avantgarde black metal bands in today’s scene. It’s also the perfect opportunity for BP to add some more sensitive instrumentation. Seizures Of Fear may almost be strong to actually induce seizure, but it’s also amongst the most succinct and memorable black metal tracks on the whole record. Channelling the historic influence of Brazilian greats such as Sarcofago as it goes. The semi-whispered/spoken vocals on Parade add a really evil twist to BP’s music, while Feet Of Clay is the aural equivalent of what it would be like if you actually had feet of clay. Hard and heavy! They’re anything but slow and lurching on Lethargy, with the song providing one last full-on assault. The round of applause during the Outro seem a little tongue in cheek, but pretty humorous all the same. This album works because it’s songs are not ridiculously long. Bode Preto manages to condense their song writing yet still make an album with real substance and musical skill. Obrigado!

You can stream and purchase Mystic Massacre digitally (as well as by merch directly from Bode Preto below):-

Tuesday, 7 June 2016

Another day and another mild annoyance. The out of touch powers at be at Facebook have decided to get rid of the messaging facility on managed pages. That means that you won't be able to PM my blog's Facebook page anymore. Instead, you can reach me via my personal page here if you so wish - https://www.facebook.com/thisnoise.isours. Anyway, thanks to the non-Facebook medium of e-mail, Brazilian/US punks Timekiller contacted me about their new EP Stagnant. I reviewed their debut EP Bleed Out some time ago, so it was great to hear from the guys again. Stagnant was self-released on March 29.

Timelier are as jangly and jarring as I remember. Their reverb-filled vocals and garage-punk go full force on the opening title-track. The mid-paced atmosphere of Narcissist suits it’s title really well. It feels more sanguine and disparate. Restless/No Rest reminds of those two-tracks-rolled-into-one jobbies that bands like Napalm Death used to do. Granted Timekiller aren’t the same as ND but they still manage to fill the song with great energy. These guys count Motorhead as one of their influences and you can hear why on Bends. The opening riffs have a faint passing resemblance underneath the noise, while later on they descent into crazed cymbal-lead madness. It’s great! Vapid makes full use of the band’s South American roots and obvious musical ability. Just listen carefully to that intricate guitar and you’ll hear what I’m talking about. EP closer Tremor may not literally shake the earth, but at full volume it will shake your house and probably your neighbour’s too. I’ve said it before but the world needs more bands like Timekiller and Timekiller needs to make more music.

Stream Stagnant and buy a download to help Timekiller release it in a physical form here:-

Monday, 6 June 2016

I'd like to apologise for being AWOL over the last week. Life got in the way as did a recurrence of what I think might be RSI in both arms. I spend a lot of my day-job typing and then going home and writing this sometimes takes its toll. Anyway, I'm back and revisiting more of the fresh blood that's being produced by out fair isle. Sutton's melodic death metallers Unheard Before The Wake released this new EP at the end of April. This extreme quintet released their self-titled debut EP back in December 2014 and have since appeared on a Terrorizer Mag cover mount CD and play alongside Candlelight's Xerath amongst others.

Unheard Before The Wake aren’t your typical modern metal band. Their brand of death metal features genuine riffs and guttural growls on Humanity Burning and it comes across like a cross between Suicide Silence and Lamb Of God. The clean vocals are a little grating to these ears though, but that’s a minor quibble. Musically they’re more than solid. Lurker channels some great Scandinavian vibes with dual-guitar harmonies and bestial drumming. I can definitely hear plenty of progression here. UBTW take things in more of an old-school direction with The Pluto God and this time the clean vocals are much better. Right To Die has plenty of crossover thrash mixed in for good measure as well a killer solo. Humanity Burning (Reprise) closes out the EP in majestic fashion, with melodic riffs ringing out at the beginning and it carries on throughout. It’s a rousing instrumental end to a strong EP. The pedigree of the UK’s metal scene is getting stronger by the day and Unheard Before The Wake are only adding to that pedigree. Good job.

The last couple of years have seen a number of scathing collaborative albums. Full Of Hell + Merzbow, Godhole + Crozier and Dragged Into Sunlight + Gnaw Their Tongues to name a few in recent times. Extreme metal and noise coming together to challenge people pre-conceptions and misconceptions. This record features Portland (Oregon) experimental sludge/doom duo The Body (themselves familiar with this release concept, having released collabs with Braveyoung, Thou, Vampillia and Krieg before) and of course...Full Of Hell, who continue along their own path of aural destruction. Perfect then for this lovely grey and windy UK summer we're having!

One Day You Will Ache Like I Ache paints a solemn yet disturbing picture. The lowly noise at the beginning gives way to grating blackened screams and an improvisational percussion battery. The Body’s experimental is plain to hear through it’s doom-laden title-track, with lurching riffs, distant ambience and high-pitched cries. Fleshworks seems to build on Full Of Hell’s penchant for electronic noise but also singles itself as a siren-song amongst crashing waves. The bass during The Butcher would be nothing short of bowel-shaking live and it is so on record too. It’s here that faint strains of hip-hop poke through the white noise (there’s thankfully no rapping to tarnish it). As the rhythmic and martial drumming of Gehorwilt begins, I can’t help thinking that some of the albums momentum is being lost in the pauses between songs. That’s just a little pet peeve of mine and it’s soon banished by the trance inducing mayhem of the song itself. World Of Hope And No Pain isn’t the light and fluffy song it paints itself out to be. There’s no let up during the second half of the album either, intact it becomes even more snarling thanks to Himmel Und Holle. If you’ve ever wondered what the true sound of hell would be like, then this is as scarily accurate as it’s gonna get. There may be ten years between the formation of The Body and Full Of Hell (scary isn’t it?) but to have both bands coexisting on the likes of Bottled Urn is something pretty special. The Little Death takes you back in the direction of Full Of Hell’s earlier pv-filled hardcore. Chip’s vocals sitting on top of the chaos makes it even more head spinning, but you won’t be able to stop listening. As I’m sure you’re aware, Little Death is the English translation of the French word Orgasm (or Le Petite Mort), but you’d have to be pretty messed up to have one to this! The closing duo Cain and Abel contain religious references, but only in their respective titles. The minimalistic tones of Cain coupled with the torturous vocals and eccentric glitch-like electronics really do bury themselves deep within your head. The longest song on the album really is the most unrelenting here. The high-pitched piercing frequency that underpins closer Abel pretty much typifies this whole album for me. Uncomfortable and euphoric.